In any case it is clear that while ‘interlude’ was only a subordinate name for plays of the miracle-type, it was the normal name, varied chiefly by ‘play’ and ‘disguising,’ for plays given in the banqueting-halls of the great[533]. These begin to claim attention during the fifteenth century. Dr. Ward’s statement that religious plays could not have been the subject of such performances does not bear the test of comparison with the facts. A miracle of St. Clotilda was played before Henry the Sixth at Windsor Castle in 1429, a _Christi Descensus ad Inferos_ before Henry the Seventh during dinner at Winchester in 1486; nor is it probable that the play performed by the boys of Maxstoke Priory in the hall of Lord Clinton at Candlemas, 1430, was other than religious in character[534]. The records of the miracle-plays themselves show that they were often carried far from home. There was much coming and going amongst the villages and little towns round about Lydd and New Romney from 1399 to 1508. One at least of the existing texts, that of the Croxton _Sacrament_, appears to be intended for the use of a travelling troupe, and that such troupes showed their plays not only in market-places and on village greens but also in the houses of individual patrons, is suggested by entries of payments to players of this and that locality in more than one _computus_[535]. Thus Maxstoke Priory, between 1422 and 1461, entertained _lusores_[536] from Nuneaton, Coventry, Daventry, and Coleshill; while Henry the Seventh, between 1492 and 1509, gave largess, either at court or abroad, to ‘pleyers’ from Essex, Wimborne Minster, Wycombe, London, and Kingston. The accounts of the last-named place record an ordinary parochial play in the very year of the royal ‘almasse.’